James Cain - The Baby in the Icebox and Other Short Fiction

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Best remembered for his sensational bestselling novels of the 1930s, James M. Cain may well be one of the most important, yet still misunderstood, of American authors. Among other writers and for certain critics, his reputation and singularity are unquestioned, resting on an extraordinary force of style and view of the human condition that have influenced a host of modern authors. Cain’s unique voice — hard-edged, caustically ironic, and impeccably controlled — was in fact forged through an extensive journalistic training and remains best exemplified in the compressed power of his short fiction.
Here then, timed with a major revival of interest in Cain’s work, is the first book to collect the best of his shorter work — selected short stories and sketches together with one of his finest serials, the novella published at different times under the titles “Money and the Woman” and “The Embezzler.” As taut and brilliant in its way as Cain’s most famous serial,
this ingenious example of Cain’s “love rack” fiction has been out of print for many years, but reads as immediately today as when first written more than three decades ago. Equally fascinating, especially when seen within Roy Hoopes’s tracings of the development of Cain’s work, are the entertaining sketches and dialogues Cain originally wrote for journalistic publication — beautiful models of efficiency and concision stamped with Cain’s characteristic irony. We are given ten of his best, out of hundreds he wrote for the
and H. L. Mencken’s
Together with nine of his finest short stories — including those three Cain classics, “Pastorale,” “The Baby in the Icebox,” and “Dead Man” — this volume comprises both an ideal introduction to the work of this remarkable American author and a mandatory book for all James M. Cain fans.

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She was crying now, and she took my hand and gave it a little jerky shake. I loved her more than I’d ever loved her, and I wanted to stop, and put my arms around her, and start all over again, but I didn’t. I knew it wouldn’t get us anywhere at all, and I kept right on driving. We’d got to the beach by then, by way of Pico Boulevard, and I ran up through Santa Monica to Wilshire, then turned back to take her home. We were done, and I could feel it that she had called the turn. We’d never see each other again.

How far we’d got I don’t know, but we were somewhere coming in toward Westwood. She had quieted down, and was leaning against the window with her eyes closed, when all of a sudden she sat up and turned up the radio. I had got so I kept it in shortwave all the time now, and it was turned low, so you could hardly hear it, but it was on. A cop’s voice was just finishing an order, and then it was repeated: “Car number forty-two, Car number forty-two... Proceed to number six eight two five Sanborn Avenue, Westwood, at once... Two children missing from home of Dr. Henry W. Rollinson...”

I stepped on it hard, but she grabbed me.

“Stop!”

“I’m taking you there!”

“Stop! I said stop — will you please stop!”

I couldn’t make any sense out of her, but I pulled over and we skidded to a stop. She jumped out. I jumped out, “Will you kindly tell me what we’re stopping here for? They’re your kids, don’t you get it—?”

But she was on the curb, waving back the way we had come. Just then a pair of headlights snapped on. I hadn’t seen any car, but it dawned on me this must be that car that had been following us. She kept on waving, then started to run toward it. At that, the car came up. A couple of detectives were inside. She didn’t even wait till she stopped before she screamed: “Did you get that call?”

“What call?”

“The Westwood call, about the children?”

“Baby, that was for Car forty-two.”

“Will you wipe that grin off your face and listen to me? Those are my children. They’ve been taken by my husband, and it means he’s getting ready to skip, to wherever he’s going—”

She never even finished. Those cops hopped out and she gave it to them as fast as she could. She said he’d be sure to stop at his hideout before he blew, that they were to follow us there, that we’d lead the way if they’d only stop talking and hurry. But the cops had a different idea. They knew by now it was a question of time, so they split the cars up. One of them went ahead in the police car, after she gave him the address, the other took the wheel of my car, and we jumped in on the back seat. Boy, if you think you can drive, you ought to try it once with a pair of cops. We went through Westwood with everything wide open, it wasn’t five minutes before we were in Hollywood, and we just kept on going. We didn’t stop for any kind of a light, and I don’t think we were under eighty the whole trip.

All the time she kept holding on to my hand and praying: “Oh God, if we’re only in time! If we’re only in time!”

XII

We pulled up in front of a little white apartment house in Glendale. Sheila jumped out, and the cops and myself were right beside her. She whispered for us to keep quiet. Then she stepped on the grass, went around to the side of the house, and looked up. A light was on in one window. Then she went back to the garage. It was open, and she peeped in. Then she came back to the front and went inside, still motioning to us to keep quiet. We followed her, and she went up to the second floor. She tiptoed to the third door on the right, stood there a minute, and listened. She tiptoed back to where we were. The cops had their guns out by now. Then she marched right up to the door, her heels clicking on the floor, and rapped. It opened right away, and a woman was standing there. She had a cigarette in one hand and her hat and coat on, like she was getting ready to go out. I had to look twice to make sure I wasn’t seeing things. It was Church.

“Where are my children?”

“Well, Sheila, how should I know—?”

Sheila grabbed her and jerked her out into the hall. “Where are my children, I said.”

“They’re all right. He just wanted to see them a minute before he—”

She stopped when one of the cops walked up behind her, stepped through the open door with his gun ready, and went inside. The other cop stayed in the hall, right beside Sheila and Church, his gun in his hand, listening. After a minute or two the cop that went in came to the door and motioned us inside. Sheila and Church went in, then I went in, then the other cop stepped inside, but stood where he could cover the hall. It was a one-room furnished apartment, with a dining alcove to one side, and a bathroom. All doors were open; even the closet door, where the cop had opened them, ready to shoot if he had to. In the middle of the floor were a couple of suitcases strapped up tight. The cop that went in first walked over to Church.

“All right, Fats, spit it out.”

“I don’t even know what you’re talking about.”

“Where are those kids?”

“How should I know—?”

“You want that puss mashed in?”

“...He’s bringing them here.”

“When?”

“Now. He ought to be here by now.”

“What for?”

“To take with us. We were going to blow.”

“He using a car?”

“He’s using his car.”

“O.K. — open them suitcases.”

“I have no key. He—”

“I said open them.”

She stooped down and began to unstrap the suitcases. The cop poked her behind with the gun.

“Come on, step on it, step on it!”

When she had them unstrapped, she took keys from her handbag and unlocked them. The cop kicked them open. Then he whistled. From the larger of the two suitcases money began tumbling on the floor, some of it in bundles, with rubber bands around it, some of it with paper wrappers still on, showing the amounts. That was the new money we had had in the vault, stuff that had never even been touched. Church began to curse at Sheila.

“It’s all there, and now you’ve got what you want, haven’t you? You think I didn’t know what you were doing? You think I didn’t see you fixing those cards up so you could send him up when they found that shortage? All right, he beat you to it, and he took your old man for a ride too — that sanctimonious old fool! But you haven’t got him yet, and you haven’t got those brats! I’ll—”

She made a dive for the door, but the cop was standing there and threw her back. Then he spoke to the other one, the one that was stooped down, fingering the money. “Jake!”

“Yeah?”

“He’ll be here for that dough. You better put in a call. No use taking chances. We need more men.”

“God, I never seen that much dough.”

He stepped over to the phone and lifted the receiver to dial. Just then, from outside, I heard a car horn give a kind of a rattle, like they give when they’re tapped three or four times quick. Church heard it too, and opened her mouth to scream. That scream never came out. Sheila leaped at her, caught her throat with one hand, and covered her mouth with the other. She turned her head around to the cops.

“Go on, hurry up, he’s out there.”

The cops dived out and piled down the stairs, and I was right after them. They no sooner reached the door than there was a shot, from a car parked out front, right behind my car. One cop ducked behind a big urn beside the door, the other ran behind a tree. The car was moving now, and I meant to get that guy if it was the last thing I did on earth. I ran off to the right, across the apartment house lawn and the lawn next to it and the lawn next to that, as hard as I could. There was no way he could turn. If he was going to get away, he had to pass me. I got to a car that was parked about fifty feet up the street, and crouched down in front of it, right on the front bumper, so that the car was between him and me. He was in second now, and giving her the gun, but I jumped and caught the door handle.

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